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PARK THEATRE – UNTIL 17th JANUARY 2026

REVIEWED BY JACKIE THORNTON

5*****

Artistic director of the Park Theatre Jez Bond wanted to do something completely different for Christmas and has succeeded spectacularly with the triumph that is Dracapella.

Bram Stoker’s classic vampire novel has been endlessly adapted for stage and screen but here it finds fresh life (and death), wit and chaotic silliness in a genre-bending show which has its roots in pantomime but delights us with joke after joke, 80s power ballads galore and a rather touching love story. Jez Bond directs and has co-written this sharp and pacey rendition with Dan Patterson, perhaps best known for delighting TV audiences for decades with Whose Line Is It Anyway? and Mock The Week. It’s perhaps no surprise that Dracapella is something of a masterclass in joke telling: puns, word play, topical gags with the wonderful cast ragging on the audience to keep up! Laughter and groans are elicited in equal measure.

Staging is very much in the Victorian gothic tradition with mirth acutely extracted from the notion of the pale, helpless female in need of rescuing. Lorna Want is magnificent as Mina, the object of Count Dracula’s affection, and is paired well with Stephen Ashfield as her husband Harker whose quest to Transylvania puts them all in grave peril in the first place. Both Ashfield and Want have won Olivier Awards and it’s easy to see why as their pitch perfect vocals deliver with demanding Queen and Bonnie Tyler numbers. Everyone gets their moment to shine and award winning comedian Ciaran Dowd proves a master of physical comedy as both Sinister and Van Helsing while Keala Settle is hilarious as Lucy and dazzles with her compelling singing voice. Monique Ashe-Palmer’s Pustula is another comic delight as well as putting in a flawless vocal performance and Philip Pope takes on Holmwood and Seward, distinguishing these characters with charming affectations. Not forgetting Count Dracula himself, who Ako Mitchell makes more vulnerable and hapless than horrifying, adopting playful gestures that had the audience in stitches. And as if that wasn’t enough entertainment, the whole show is performed completely acapella, led by UK Beatbox Champion Alexander Belagarion Hackett (ABH Beatbox), whose skill and stamina is undeniable.

A classic vampire tale, wicked punning, 80s power ballads, absurd pantomime, flawless acapella musicality: what’s not to love? An impeccable evening’s entertainment.

Hall for Cornwall, Truro – until 3rd January 2026

Reviewed by Kerry Gilbert

5*****

A magical performance full of laughter and cheers!

This year’s audiences are being treated to a Cornwall Playhouse production, in association with Falmouth University of Aladdin which is running at the Hall for Cornwall until the 3rd Jan 26. It’s great to see such a fabulous pantomime in Cornwall, full of Cornish charm and showcasing a huge amount of homegrown talent. It is a magical performance, full of laughter and cheers telling this classic story.

It is co-written by the show’s star Edward Rowe (Kernow King) and musical director Richard Healey and they have really produced a show that has done Cornwall proud! There’s giant tap dancing pasties, flags of St.Piran, a song made up of Cornish place names and the chorus of Trelawney all thrown in.

Following several standout performances as the dame, the Kernow King is back, this time as Widow Twerkey, He’s as fabulous as ever, and his portrayal of Aladdin’s mum who has lost her twerk since becoming a widow is top notch. He does naughty innuendo to perfection. The manic version of the Twelve Days of Christmas sees the return of the supersoakers to the delight of the children, together with saffron buns and silver surfboards and sweets thrown into the audience.

Alexander Jude as Aladdin and Jasmine Cole as Princess Jasmine perform well together and share many duets. Alexander has a standout moment on the magic carpet ride, which is both jaw dropping and phenomenal. Dawn French is the voice of the Genie, which was a wonderful surprise and Mali Wen Davies brings sass as the Spirit of the Ring, she certainly has a powerful voice.

There are huge sets and glitzy costumes to wow you. There are high energy dance routines, from the opening track staring Jasmine and her Mum, the evil Aberzennor (Sara Markland) singing Jesse J’s song Domino, you know you’re in for a treat of a show. Also, other music numbers such as Lady Gaga’s Abracadabra are all well performed with energy, alongside the ensemble which are fantastic and includes member of the Hall for Cornwall’s Youth Theatre.

Willie Washaway (Gareth Cooper) who is Dame Twerkey’s silly son introduced himself to the audience. He is a success and fun for the younger spectators and often willing the audience to interact when he shouts Willie, Willie, Willie and the audience would react by shouting Oi, Oi, Oi in return.

It has plenty of Cornish charm, set in Kernow Town and many Cornish references with pyrotechnics, bubbles and streamers from the ceiling. A not to be missed Panto, which will keep you all amused, a perfect family day out which doesn’t disappoint.

West End Alumnae Reprise Acclaimed Roles

Four Continents – UK, USA, Australia, Canada, China, Mexico and New Zealand

“One of British theatre’s great success stories and is packing out theatres in the West End and on Broadway… both spiffingly funny, in a Monty Python-esque fashion, and really quite moving”
 Hugh Montgomery, Metro

“A little show with a very big future”
 David Benedict, Variety

  “The West End hit is still the perfect mix of ingenious, silly and moving…With a new cast, the Olivier Award-winning musical about the wartime operation is as terrific as ever” ★★★★★
  Marianka Swain, The Telegraph

 “A miraculous musical that tells the entire story in a kind of accelerated farce that is part Mel Brooks, part SIX, part Hamilton with a side order of One Man, Two Guvnors.” ★★★★★
Neil Norman, The Daily Mirror

“The Brits have made the year’s funniest musical…Against the odds, the “Operation Mincemeat” gang has found its way to the big time.”Peter Marks, The Washington Post

 “The feel-good West End musical of the summer… The reviews for the show have been ecstatic… the overwhelming impression is of hopefulness, expansiveness, possibility and joy.”
 Alexis Soloski, The New York Times

88 ★★★★★ reviews and counting

Following the seventeenth West End and fifth Broadway extensions, the Tony Award® and double Olivier Award®-winning musical Operation Mincemeat unveils the cast for the UK leg of its landmark world tour. Launching on 16^th February 2026 at Lowry in Salford – the venue that first encouraged the writers’ extraordinary debut musical and hosted its first-ever scratch performance in 2017 – a 40-week run will play at theatres nationwide through 28^th November 2026.

Reprising their acclaimed roles, West End alumnae Christian Andrews (Sherlock Holmes and the 12 Days of Christmas, ITV’s D-Day 80 at the Royal Albert Hall), Seán Carey (The Play That Goes Wrong, BBC One’s VE Day 80, A Celebration to Remember), Charlotte Hanna-Williams (Rogers & Hammerstein’s Cinderella; Bells are Ringing), and Holly Sumpton (Lovers Actually,  BBC One’s VE Day 80, A Celebration to Remember) are joined by new recruit Jamie-Rose Monk (Rome & Juliet, (the) Woman) to form the cast, while Katy Ellis (The Curious Case of Benjamin Button, Sappho: The Poetess), Georgina Hagen (Only Fools & Horses, Everybody’s Talking About Jamie), Jordan Pearson (Back to the Future: The Musical, One Man, Two Guvnors), and Morgan Phillips (Babies, The History Boys) complete the company.

SpitLip, the musical’s writers and composers, commented: “We’re so excited to see Operation Mincemeat heading out on a world tour next year, and the fact that it’s all kicking off at The Lowry, Salford – a venue who have fiercely championed us as theatre makers for over a decade, and where some of us made our professional debuts – is incredibly special. Having launched our show on Broadway this year, we know there’s an appetite (and a need) out there for shows which champion joy, and the power of small groups of people to change the world. We’re also delighted to be welcoming back our agents Christian, Charlotte, Holly and Seán, and welcoming our amazing new recruit Jamie-Rose, to kick off the UK leg of the tour – MI5 couldn’t be in more capable or more spectacularly stupid hands. Father’s never been prouder!”

Following the UK leg of the world tour, Operation Mincemeat will travel across four continents, with stops including the USA, Australia, Canada, China, Mexico and New Zealand.

UK tour tickets are on sale now from the Official Box Office at OperationMincemeat.com. Dates for other territories will be announced soon – sign up to the mailing list to be first in line when the show comes to your city. Keep an eye out for updates on new countries and continents!

Operation Mincemeat is running simultaneously in London and New York, with the West End production at the Fortune Theatre extended for a seventeenth time through 27th September 2026, and the Broadway production now extended for a fifth time, running through 26th April 2026. It began as a tiny (and tiny-budgeted) production at the London Fringe New Diorama Theatre in 2019. The show quickly gained a devoted following, spurring sold-out runs at venues including Southwark Playhouse and Riverside Studios. It finally premiered in the West End on 9^th May 2023 at the Fortune Theatre, where it won the Olivier and WhatsOnstage Awards® for ‘Best New Musical’, alongside garnering 88 five-star reviews and counting, and has become the ‘Best reviewed show in West End history.’

The decision to write the musical was the last roll of the dice from SpitLip, a quartet of young British creatives after years of performing sketch shows at the Edinburgh Festival Fringe, and echoes the journey of Beyond the Fringe from the world-famous quartet Alan Bennett, Peter Cook, Jonathan Miller, and Dudley Moore, which premiered at the Edinburgh Festival Fringe in 1960, before moving to the Fortune Theatre and later to the Golden in 1962.

In Operation Mincemeat, it’s 1943, and the Allied Forces are on the ropes. Luckily, they’ve got a trick up their sleeve. Well, not up their sleeve, per se, but rather inside the pocket of a stolen corpse. Equal parts farce, thriller, and Ian Fleming-style spy caper (with an assist from Mr. Fleming himself), Operation Mincemeat tells the wildly improbable and hilarious true story of the covert operation that turned the tide of WWII.

The production is directed by Olivier Award nominated Robert Hastie (Standing at the Sky’s Edge, National Theatre – Best New Musical Olivier Award winner), following providing directorial support for the Riverside Studios run, while Olivier Award nominated Jenny Arnold (Jerry Springer: The Opera, National Theatre) continues as Choreographer. Also from Standing at the Sky’s Edge at the National Theatre on the creative team are: Olivier Award nominated  Ben Stones (Sylvia, The Old Vic) as Set and Costume Designer, Tony Award, six-time Olivier Award and Bafta Award winning Mark Henderson (Girl From the North Country, Broadway & Noël Coward Theatre) as Lighting Designer and Olivier Award winning Mike Walker (Jerry Springer: The Opera, National Theatre) as Sound Designer.  Grammy Award winning and Tony, Emmy & 2024 ‘Outstanding Musical Contribution’ Olivier Award nominated Steve Sidwell (Beautiful: The Musical, Broadway & Aldwych Theatre) is Orchestrator and Vocal Arranger, while 2024 ‘Outstanding Musical Contribution’ Olivier Award nominated Joe Bunker is Musical Supervisor and Sam Sommerfeld is Musical Director. Georgie Staight is Tour Director, Anna Marshall is Resident Director and Paul Isaiah Isles is Associate Choreographer. Casting is by Pearson Casting. The debut musical is written and composed by SpitLip – David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts.

Since premiering at London’s 77-seat New Diorama Theatre in 2019, the show been nominated for 67 awards and won 25, including Best Musical four times at the Olivier Awards®, WhatsOnStage Awards®, BroadwayWorld Theater Fans’ Choice Awards®, and Off West End Awards®.

On Broadway, original cast member Jak Malone won the 2025 Tony Award® for Best Featured Actor in a Musical, having previously taken home the Olivier Award® for the same role in 2024. His breakout performance earned seven major accolades, including the Tony, Drama Desk®, Outer Critics Circle®, Drama League®, Theatre World®, BroadwayWorld®, and Dorian Theater Awards®. Meanwhile, SpitLip received nominations for Best Original Score and Best Book of a Musical from the Tony Awards®, Outer Critics Circle Awards®, Drama Desk Awards®, and BroadwayWorld Theater Fans’ Choice Awards®. 

 Operation Mincemeat’s Broadway, West End, and touring productions are produced by Avalon (in association with SpitLip). The show was commissioned by New Diorama Theatre, co-commissioned by The Lowry, and also supported by the Rhinebeck Writers Retreat.

★★★★★

“It will fill you with joy and melt your heart”

Guardian

CRITICALLY ACCLAIMED SMASH-HIT PRODUCTION

PADDINGTON THE MUSICAL

EXTENDS UNTIL FEBRUARY 2027

★★★★★

“Is it possible to give a show six stars?”

Metro

★★★★★

“A marmalade flavoured masterpiece”

Daily Mail

With PADDINGTON The Musical opening to huge critical acclaim at the Savoy Theatre, producers Sonia Friedman Productions, STUDIOCANAL and Eliza Lumley Productions on behalf of Universal Music UK today announce that the smash-hit production extends through 2026 – Michael Bond’s centenary year – until 14 February 2027.

★★★★★

“Paddington The Musical will conquer the world”

The i Paper

Sonia Friedman Productions, STUDIOCANAL and Eliza Lumley Productions on behalf of Universal Music UK present

PADDINGTON THE MUSICAL

MUSIC AND LYRICS BY TOM FLETCHER BOOK BY JESSICA SWALE

DIRECTED BY LUKE SHEPPARD

Based on A Bear Called Paddington written by Michael Bond and the film ‘PADDINGTON’, by special arrangement with STUDIOCANAL

★★★★★

“A triumph. A love-letter to kindness, inclusion and family”

Daily Express

Current cast: Timi Akinyosade (Tony), Amy Booth-Steel (Lady Sloane), Tarinn Callender (Grant), Delilah Bennett-Cardy (Judy Brown), Adrian Der Gregorian (Mr. Brown), Tom Edden (Mr Curry), Brenda Edwards (Tanya), Amy Ellen Richardson (Mrs. Brown), James Hameed (Paddington Voice and Remote Puppetry, and Young Man), Victoria Hamilton-Barritt (Millicent Clyde),  Teddy Kempner (Mr Gruber), Bonnie Langford (Mrs Bird), Arti Shah (Paddington On-stage performer), in the role of Jonathan Brown Joseph Bramley, Leo Collon, Stevie Hare and Jasper Rowse, and Alternate Paddington On-stage Performers Abbie Purvis and Ali Sarebani; with Esme Bacalla-Hayes, Tiago Dhondt Bamberger, David Birch, Aimée Fisher, Jacqueline Hughes, Kellianna Jay, Sam Lathwood, Natasha Leaver, Katie Lee, Sunny Lee, Vicki Lee Taylor, Jáiden Lodge, Andilé Mabhena, Rose Mary O’Reilly, Ben Redfern, Hugo Rolland, Simon Shorten and Hassan Taj

Matt Brind (Musical Supervisor, Orchestrations and Arrangements), Ellen Kane (Choreographer), Tom Pye (Scenic Designer), Gabriella Slade (Costume Designer), Tahra Zafar (Paddington Bear Designer), Neil Austin (Lighting Designer), Gareth Owen (Sound Designer), Ash J Woodward (Video Designer and Animation), Campbell Young Associates (Hair, Wig & Make-Up Designer), Majid Adin (Illustration and additional Animation), Laura Bangay (Musical Director), Natalie Gallacher CDG for Pippa Ailion and Natalie Gallacher Casting (Casting Director), Nick Hockaday (Young Persons’ Casting Director), Annabelle Davis (Paddington Casting Director), Javier Marzan (Physical Comedy Consultant), Tobago Crusoe and Felix Ruiz (Additional Music Consultants)

★★★★★

“London needs this musical now more than ever”

Radio Times

A rather wonderful adventure is about to begin…

Hold on to your hats for the world premiere of PADDINGTON The Musical in London’s West End.

When a small, lost bear from Peru arrives in London in search of a new home, a chance encounter with the Brown family leads him to the wonderful world of Windsor Gardens.

But London isn’t all afternoon teas and friendly faces – and even the happiest families have their cracks beneath the surface. So when a mysterious and vengeful villain sets her sights on Paddington, the Browns embark on a thrilling rescue mission, realising they need this special bear as much as he needs them.

Packed with show-stopping songs, dazzling choreography, mischief and mayhem at every turn – and of course, marmalade sandwiches – PADDINGTON The Musical is based on the iconic characters from Michael Bond’s books, with a story inspired by the award-winning 2014 film.

Michael Bond’s A Bear Called Paddington was published in 1958 by Collins, later Harper Collins – the first of 29 Paddington books he was to write, with the final one Paddington at St. Paul’s, published posthumously in 2018. The books have sold over 35 million copies worldwide.

Paddington has been adapted for television several times – first by the BBC in 1976; and most recently adapted by STUDIOCANAL who have produced three Emmy Award-winning series of The Adventures of Paddington. Paddington has also enjoyed three successful big-screen outings, all produced and developed by STUDIOCANAL – Paddington released in 2014, Paddington 2 in 2017, and Paddington in Peru in 2024, enjoying critical and commercial acclaim becoming the biggest independent family franchise of all time.

Instagram, Facebook and TikTok: paddingtonthemusical

www.paddingtonthemusical.com

Listings

Paddington The Musical

SAVOY THEATRE

Savoy Court, Strand, London WC2R 0ET

Box Office: 0844 871 7687 / www.paddingtonthemusical.com

Tickets from £25

Paddington ticket lottery: https://paddingtonthemusical.com/lottery/

Monday               7pm

Wednesday         7pm

Thursday              2pm & 7pm

Friday                   7pm

Saturday              2pm & 7pm

Sunday                 2pm

Please check the website for the Christmas/New Year schedule.

Recommended for ages 6+

OLIVIER AWARD-WINNING JAMES GRAHAM TO ADAPT 

PUNCH

FOR SCHOOLS TOUR FOLLOWING SOLD-OUT RUNS IN THE
WEST END, YOUNG VIC AND NOTTINGHAM PLAYHOUSE

Following the final performance of Punch at the Apollo Theatre on 29 November 2025, producers KPPL Productions, Mark Gordon Pictures, Eilene Davidson Productions announce that profits from the West End run will be used to create a new version of Punch to be toured into schools. Olivier Award-winning James Graham will adapt the play and work with director Adam Penford to create a version especially designed for young people. Punch is based on the book ‘Right From Wrong’ by Jacob Dunne, and was originally commissioned and produced by Nottingham Playhouse.

After three sold-out runs in the UK, and having opened on Broadway simultaneously with the West End run, Punch has now been seen by over 125,000 people since it premiered in May 2024. The 10-week West End run was seen by 54,000 people, with over 20% of all tickets sold at £25 or under and 35% under £45. Over 10% of West End audiences were school groups with 171 schools and a total of 5,700 pupils attending the production – with three performances exclusively made available to schools and community groups through Go Live Theatre at £10 per ticket. Accessibility and education were central to the run with an extensive education pack made freely available to support teachers’ and students’ engagement with the play via www.punchtheplay.com.

Core funding for the schools’ version of Punch will be made possible through the commitment from the West End producers and James Graham not to take royalties and profits and rather channel the money into sharing the play with young people. This commitment has created a catalyst fund which will be built upon through partnership funding, with the ambition of ultimately sharing the schools’ version across the UK. The schools’ version will be produced out of Nottingham Playhouse in 2027. To find out more or register interest in engaging with the Punch schools’ tour please contact punchschools@nottinghamplayhouse.co.uk.

Kate Pakenham, Producer,said, “There’s a wonderful virtuous circle about Punch’s journey from Nottingham Playhouse, to London and New York, and now into schools. We heard directly from thousands of young people in the West End how powerfully the story speaks to them, and are thrilled that West End success means that we can now take it directly to them in schools. Teachers have encouraged us that there is huge potential for Punch on the national curriculum, and we are excited to build partnerships to explore this over the coming years. As we head into this next journey for this important new play, we recognise with gratitude the real people whose story this is and the exceptional artists who made the original production. We hope that the 54,000 people who saw Punch in the West End can feel a sense of pride at their part in making this next step for Punch possible.”

James Graham, Playwright, said, “Punch began as a desire to write a story for my often-neglected community in Nottinghamshire. 18 months on, it’s a bewildering delight to me that it has become the first play to open simultaneously in the West End and on Broadway in over a century. I know this is because of the incredible real people involved – Jacob, David and Joan – and the powerful impact their true story is having on audiences. Given all that, it felt right to approach a West End run in a new way, with a social mission behind it. I’m thrilled that, by declining royalties, thousands of young people who would never have been able to see a West End play got to experience one, and that Punch now has a life beyond courtesy of the generosity and ambition of our remarkable producers.”

Adam Penford, Artistic Director of Nottingham Playhouse and Director, said, “Everyone at Nottingham Playhouse is thrilled that Punch will continue to have a real impact within the community, and amongst young people in particular. It demonstrates that theatre can be both commercially successful and have a tangible civic value. When I first approached the real-life people whose story we’re telling, I promised them that the play would be more than just entertainment and would assist in their campaign work. I’m grateful that the producers also bought into this ethos and through their generosity, we can continue to deliver on this pledge.”

Alongside the West End production’s commitment to young people’s access to Punch on Shaftesbury Avenue, the strictly limited run aimed to inform wider audiences around Restorative Justice, and the wider social justice issues platformed in the play. The production partnered with 11 charities including The Forgiveness Project and Go Live Theatre, hosting 9 free post-show conversations every Tuesday led by expert speakers from across the social justice, education and arts sectors. This unique weekly series of post-show conversations were attended by 3500 people (average attendance of 50% of evening’s audience) and are available to listen to for free: www.youtube.com.

Alongside and supported by the West End run, Jacob Dunne, Joan Scourfield and David Hodgkinson launched the ‘Right To Be Heard’ through the Common Ground Justice Project and Restorative Justice charity, Why Me?. The campaign calls on the UK government to give every victim a legal right to be told about Restorative Justice and offered a referral to an expert service. To find out more visit: righttobeheard.org.

The original cast comprised of Alec Boaden (Masters of the Air) as Raf/DS Villers/Sam, Julie Hesmondhalgh (Mr Bates vs the Post Office) as Joan/Nan, Tony Hirst (Boiling Point) as David/Derek/Tony/Raf’s Dad, Shalisha James-Davis (I May Destroy You) as Clare/Nicola, Emma Pallant (Queenie)as Wendy/Sandra/Jacob’s Mum, and David Shields (Black Mirror) as Jacob who reprised their roles in the West End. They were joined by understudies Rob Alexander-Adams, Joshua Glenister, Rebecca Todd and Marnie Walkinshaw.

The creative team included Adam Penford (director), Anna Fleischle (production designer), Robbie Butler (lighting designer), Alexandra Faye Braithwaite (sound and composer), Leanne Pinder (movement director), Christopher Worrall CDG (casting director) and Omar Khan (associate director).

Jacob, a teenager from Nottingham, spends his Saturday nights seeking thrills with his friends. One fateful evening, an impulsive punch leads to fatal consequences. After serving prison time, Jacob finds himself lost and directionless. Searching for answers, Joan and David – the parents of his victim James Hodgkinson – ask to meet, sparking a profound transformation in Jacob’s life. A powerful story of hope, humanity, and the possibility of change.

Punch was produced in the West End by KPPL Productions, Mark Gordon Pictures, Eilene Davidson Productions in association with the Young Vic and Nica Burns. It returns to Nottingham Playhouse next Spring 2026 and then will play at Leeds Playhouse and Theatre Royal Plymouth.

The production is dedicated to James Hodgkinson and all victims of one-punch.

www.PunchThePlay.com.

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Facebook:            PunchThePlayUK

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The Albany – until 24 December 2025

Reviewed by Claire Roderick

4****

Hans Christian Anderson’s classic tale is given a warm and witty woodland twist by Nancy Hirst in this charming and gentle production for younger children.

Mice Gerda and Kai are neighbours and best friends and are having a sleepover together. But something has changed in Kai since they watched the shooting stars on Harvest Night. A small tiff about game rules turns into a bitter argument and Kai runs off up the tree, only to be taken by the Snow Queen. Gerda goes on a quest to find the Snow Queen’s palace and rescue her friend.

The original Snow Queen story has some dark moments, but this version makes it clear that this queen is just as lonely and lost as those that she accidentally infected with her sadness on Harvest Night. Here, she is a snow leopard, wisely distancing the audience from any notion of human cruelty. The themes of love, friendship, and talking about and sharing feelings are the main message of this production, packaged in an entertaining and easily accessible way for young children. It is a showbiz circle time!

The cast of three (Eva Pereira, Freya Stephenson and Henry Regan) portray the woodland characters with a charmingly daft but sincere air. Pereira’s plucky Gerda leads the audience through songs and dances to overcome obstacles and has a wonderfully warm connection with the children (and the big ones!) Freya Stephenson and Henry Regan are hilarious as the squabbling squirrel and crow Gerda meets along the way and are just as impressive with the quieter characters they play.

Writer and director Hirst’s script has just the right balance of silliness and sentiment, audience interaction and, importantly, movement breaks to ensure any restless youngsters can remain engaged. Eamonn O’Dwyer’s music is delightfully catchy. Laura McEwen’s set is stunning, from the cozy autumnal tones of Gerda’s bedroom to the Triangles lit in gorgeous atmospheric colours to portray rivers, forests and the ice palace. The children’s reactions to some of Callum Macdonald’s lighting changes was absolutely magical.

A wonderful woodland adventure that will appeal to young and old, The Snow Queen is a magical Christmas treat.

Seven Dials Playhouse – until 20 December 2025

Reviewed by Claire Roderick

4****

If you’re looking for festive fun, get down to the Seven Dials Playhouse for The Christmas Thing. Mr. Thing (Tom Clarkson and Owen Visser) give their comic chaos a Christmas twist as they “broadcast” a live show. Those who remember the shambolic hilarity of nineties’ and noughties’ children’s TV links, game shows, and early telethons will have a blast.

Tom and Owen have a Christmas show to air, but can’t afford big guest names, so need the help of the audience. A quick QR scan on entry leads the audience to reveal their party tricks and their Christmas veg pick. Names are picked out and guests invited to step into Christmas. There is always the option to not participate, but by the time guests are involved, the atmosphere in the theatre is so warm and welcoming that only a grinch would say bah humbug when invited down. On press night the party tricks included gargling the national anthem, naming tricky Welsh towns, and doing the splits. Tom and Owen are such excellent hosts that everyone had a ball onstage. Cameras zoom in on random audience members for visual jokes, and one was even roped in to wear a helmet with a camera attached for the whole show.

Roving reporter Puppet Steve introduced the jeopardy, with news that Santa had disappeared and the Krampus was on the way to steal the Christmas cheer that the show was creating. So, among the Christmas cracker jokes, daft games, quizzes, gags and other nonsense, grim video warnings from surprising guest stars popped up. A Thingflix documentary about the life of Frankie Spangles (the superb Peter Serafinowicz) – a glorious parody of problematic celebrities – provides hints on defeating the Krampus which, of course, helps Christmas get back on track.

It takes great talent to guide unpredictable audiences and co-ordinate such randomness with the plotline into a coherent show, and Clarkson and Visser are genial masters of the game. The Christmas Thing is a wonderful show guaranteed to fill you with Christmas cheer – and the special offer of unlimited mulled wine and mince pies for 45 minutes pre-show, during the interval, and for 30 minutes post-show for £5 will make you very merry indeed.

Charing Cross Theatre – until 11 January 2026

Reviewed by Claire Roderick

4****

It’s becoming a cosy Christmas tradition to sit back and bask in the cheerfully charming smut and queer nonsense of the latest adult panto from He’s Behind You! at Charing Cross Theatre. This year, writers Jon Bradfield and Martin Hooper turn their talents to Beauty and the Beast – A Horny Love Story. Set in the Scottish Highlands in the village of Lickmanochers, just down the road from Suckmacoch, twins Bertie and Bonnie (the wonderfully wide-eyed Matt Kennedy and Laura Anna-Mead) help their domineering mother Flora (Matthew Baldwin) run the petrol station/village shop. Virgin Bertie’s best friend is a seal, and he dreams of travelling to New Zealand to have a fun time studying and shagging, but how can he leave his mother? Bonnie would be happy just moving to Glasgow, but would her mother even notice?

25 years ago, a wandering antipodean fairy (Dani Mirels) enchanted Charlie (the booming Keanu Adolphus Johnson) to save him as he fought with his brother Cornelius (Chris Lane), transforming Charlie into a beast. Meanwhile Cornelius has been searching for their father’s will as he wants to keep his slimy mitts on daddy’s oil rig. As oil prices get too much for Flora to bear, she decides to find the will herself, leading to comic chaos involving a mysterious opera singer, a haunted castle, plums, slavery, scones, moustachioed oil rig workers, and true love shining through.

Bradfield and Hooper’s writing is inspired – filthy jokes scattered amongst daft puns and ridiculous physical comedy hit all the right notes and create a wonderfully warm atmosphere where all the traditional panto staples of sweet throwing, singalongs, ghost benches are embraced and subverted in style.

David Shields set is gleefully traditional, with mistimed set movements simply adding to the chaotic charm. Robert Draper’s costumes are wonderfully technicoloured, with Juno’s magical cape sporting Sydney Opera House shaped shoulder pads and Flora’s traditional Scottish costume being standouts. Jon Bradfield’s songs are hilarious pastiches – Be Our Guest becoming Be Our Slave and a fantastic In the Navy spoof on the pink oil rig with camp choreography by Carole Todd.

The cast are incredible. You never quite know if they are actually on script when Matthew Baldwin is on stage as his fabulous and dynamic dame Flora is so fast and sharp, jumping on any mishaps like a cat, making Ben Mabberley’s performance as her loyal foil even more impressive. Chris Lane is sublimely sneaky as villain Cornelius and Owen Arkrow and Olivia-Grace Weaver are an energetic ensemble. The silliness and tomfoolery are infectious, and the nostalgic warmth makes this one of the best Christmas shows in London – just leave the children at home!

Tewkesbury Abbey – 6th December 2025

Reviewed by Courie Amado Juneau

5*****

The chance to review Handel’s Fireworks music and some choral Haydn doesn’t come around too often – and when it coincides with the chance to visit a fabulous local Abbey it is just too fine an opportunity to miss!

The opening piece in tonight’s programme was Marc-Antoine Charpentier’s Te Deum in D, familiar from its opening bars as the theme music for the European Broadcasting Union. A gorgeous piece of choral writing; the entire work was sublime but really shone (for me) in the climax; from the duet between Soprano and Bass soloists (Dignare Domine), into the Trio for sopranos and bass and then the final full chorus. Truly uplifting.

Handel’s Music for the Royal Fireworks followed. Without singers, it provided a nice contrast to the monumental choral works which bookended it, the Regency Sinfonia did a magnificent job of bringing out all the splendour and public spectacle of the original regal commission.

Abbeys are not custom made for music reproduction where technical difficulties abound – namely taming reverb. The cavernous expanse of stonework in every direction and a lack of soft furnishings almost inevitably results in a far away and/or swampy sound. That tonight’s Choral Society were so clearly heard in all their glory is a testament to all involved. They may, officially, be an amateur group but they are every bit as polished and professional as their more well known counterparts. I was most impressed by their full, clearly detailed parts, giving the choir a pleasantly hefty presence when needed – but one which could be sweet and tender too when required.

After the interval we were gifted another fine work – Haydn’s Harmoniemesse. Moving from the earlier Baroque into the Classical eras, this work had less tripping, filigree passages but was no less interesting – Haydn being a master of gorgeous form and exquisite style. I felt that this piece worked even better than the earlier pieces in the Abbey – making it even easier to hear the fabulous singing from the chorus, who again sounded superb throughout.

The soloists tonight were a real revelation – especially against the full chorus and orchestra backdrop. Soprano Sheilagh Armitt, Anna Cooper (Mezzo-Soprano) and Edward Lee (Tenor) gave rousing performances throughout, fully justifying their roles out front. Of special mention though was the combination of Brittany King (Soprano) and Piran Legg (Bass) which was spellbinding! Ms King’s tone was something to fall in love with – being both mellifluous and soaring, tender yet emotionally assured – in short her tone was breathtakingly beautiful. The bass soloist Piran Legg’s sonorous tone also impressed me enormously. Put simply – I could listen to both all night every night!

John Holloway conducted with an assured touch, producing readings of these works which I’m sure the composers would have been proud of. The range of dynamics that he got out of orchestra and singers made the ending flourishes to the works dramatic and impactful. Adding to the drama was, unsurprisingly, Tewkesbury Abbey: a stunning place to worship at the altar of music and (of course) to visit to worship our Lord. This was my first visit but it assuredly won’t be my last.

It won’t, also and hopefully, be my last time seeing Tewkesbury Choral Society – who properly wowed me tonight. A fabulous night’s musical entertainment given in uplifting fashion – Bravo to all concerned!

Old Joint Stock Theatre, Birmingham – until 13th December 2025

Reviewed by Emma Millward

5*****

There’s something magical about climbing the stairs above a bustling pub to reach the Old Joint Stock Theatre. Leaving behind the busy pub full of thirsty visitors from the nearby Christmas Market, you arrive in a more intimate and quaint space ready to be entertained. The intimacy is exactly what makes Sleigh Miserables such a joy. When a show leans heavily into festive chaos, innuendo, and musical surprises, being close enough to catch every wink and raised eyebrow is a must.

At the centre of it all is Emily Hespe, who not only hosts the evening with an infectious energy, but also forms part of a trio of talented performers. Her mischievous presence sets the tone from the start. This isn’t a show that is going to take itself too seriously. Emily moves effortlessly between guiding the audience on what to expect next, witty improvised moments, and belting out numbers with a confidence that keeps the entire room buzzing with anticipation. Emily is also not afraid to poke fun at herself, especially when she comes dangerously close to tripping off the edge of the small stage during a song.

Joining her are Jack Carr and Caprice Lane, both of whom embrace the parody with a gleeful joy. Jack has a brilliant blend of theatrical earnestness and comedic self-mockery. His ability to switch from overblown emotion to sharp comic timing is a recurring highlight. Caprice brings a charismatic, but calmer edge to the proceedings. Though quieter than her fellow performers, but her beautiful crystal-clear soprano vocals constantly wow the audience especially during the hauntingly beautiful medley of ‘When She Loved Me’ from Toy Story 2 and ‘She Used to Be Mine’ from Waitress. Just one example of the inventive and  surprising ‘mash-up’ medleys in the show. Together the trio have a chemistry that never feels forced. They bounce well off each other, building jokes out of tiny mishaps, or spontaneous audience reactions. The result is a show that feels playfully, occasionally on the brink of unravelling, but held together by three exceptional performers.

A huge part of the show’s heartbeat comes from musical director Callum Thompson, seated quietly behind a piano like he’s hoping nobody will directly look at him. He sings for brief but memorable flashes throughout the show, each time surprising the audience or making them laugh. His shy demeanour only makes these moments more delightful, like a hidden gem waiting to be discovered. Sleigh Miserables thrives on its irreverent re-imagining of familiar melodies that take sudden festive turns, and the performers deliver them with both genuine vocal ability and tongue-in-cheek humour. I would love to list the songs, but I feel that takes away the genuine delight of hearing, and recognising the songs seamlessly blended together. All I will say is expect the unexpected along the way. Songs from musicals such as Wicked, The Phantom of the Opera and of course Les Misérables appear. Alongside them are Christmas standards and classic Christmas hits aplenty (one word…Whamageddon!). The songs are all cleverly woven together by the performers and Director/Writer James Edge who all clearly enjoy the genre they are sending up and have a genuine affection for it.

All in all, Sleigh Miserables is a gloriously chaotic show. It’s a festive treat that is as clever as it is silly, and perfect for audiences seeking a Christmas show with a mischievous edge.